George Ward Tjungurrayi

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Born circa 1947

Region Pintupi

Language Pintupi

George Ward Tjungurrayi was born in Kiwirrkura around the year 1945. George and his older brother, Willy Tjungurrayi, who is also a senior Pintupi painter, moved to Papunya in the 1960s. He was brought into Papunya in 1962 by the Northern Territory patrols which Jeremy Long was in charge of after watching local artists painting at that time.

George began painting for the Papunya Tula Artists in 1976, at the West Camp of Papunya where the nomadic desert people stayed and at various locations, including Mt Liebig (Yamunturrngu) and Kintore (Walungurru), and the Yayayi and Waruwiya outstations, working alongside Joseph Jurra Tjapatjarri and Ray James Tjangala.

His paintings are striking Tingari stories, done in linear optical stripes and square patterns. The depictions and designs in his works have brought him into prominence and are now highly sought after by collectors and galleries worldwide. George currently lives at Wallangarra (Kintore), Northern Territory. He is brother to Natta Nungurrayi. His son is Jake James Tjapaltjarri also a collectible artist.

George Ward is a reticent and silent Western Desert man. This cast of character can cause the odd practical problem, now that he has become one of the nation’s most admired and most keenly collected artists: He’s not at home in English; sees no merit in photographs; is uneasy in big, bustling towns like Alice Springs. “I’m a bush man, me,” he insists, with a distinct, proud edge in his voice.

George’s father died while he was still very young. It was only in his teenage years that he first encountered Europeans, when a commonwealth welfare patrol came upon his family group camped by a desert waterhole. After travelling to the government settlement at Papunya, first home of the desert painting movement, Ward worked briefly as a fencer and a butcher in the community kitchen. He also met and married his wife, the somewhat formidable Nangawarra, a member of one of the desert’s most dominant families.

Once their first child was born, the couple moved west to Warburton, then on through the ranges to Docker River, to Warakurna and at last to the newly established Pintupi capital of Kintore, in the looming shadow of Mount Leisler, where they still spend time today.

It was here, just over a decade ago, that Ward first painted on canvas: a handful of elegantly “classical” concentric roundel works from that time survive. But it was only over the past three years, after the death of his brother, Yala Yala Gibbs, a celebrated artist, that the responsibility to paint fall squarely on Ward’s shoulders. By this stage, he was a senior desert man: He lived deep in the world of law. The canvases he began producing for Alice Springs-based Papunya Tula artists were like nothing else that had come before in the desert art movement: sombre, cerebral, full of grave intellect.

One of George’s most recent achievements is winning the prestigious 2004 Wynne Prize at the Art Gallery of New South Wales for his topographical depiction of the Western Desert. He has also exhibited in many galleries throughout the past decade.
National Gallery of Victoria Indigenous Art Curator, Judith Ryan quickly caught their splendour. “He hit on this sophisticated, geometric, filled-in style almost at once,” she says. “I have the sense that he began to paint only when he was ready, in full command of both story and country – and he seems able to harness considerable power and visual energy almost every time he approaches a large canvas.” Once Ward has blocked out his painting’s various fields, he fills each one with parallel lines, tight-drawn. They have the feel of contours, making up recurring patterns: wavy paths, tilted circles, chevrons. This underpainting process can be protracted. The work still bears no resemblance to its final form.

Then he takes up his dotting stick. A transformation begins. At last, after several days of meticulous detailing, the shimmer of the finished surface begins to show. Ward’s large-scale works depict the ancestral desert narratives, relating to the country west of Kintore – above all, the snake-rich landscapes around Lake MacDonald. But they are not maps, as much as expressions of a world, logic, a sense of how space is enlivened by spirit.

Just as the creation journeys they refer to operate on many levels, so do the paintings: to the outside eye, they possess an austere beauty; when explained in detail, they can serve as visual clues to a complex story-system; but all the while their air of coherent depth comes from the underlying mental architecture of the desert world, most of whom have passed away. It describes journeys taken by the Tingari ancestors – men, women, children, dogs – who once moved through the landscape, but are all transformed, now, into rocks, or water-snakes. A cataclysmic storm fell down upon them: black clouds, rain, lightning. Gradually, a complex narrative emerges, which involves shifting of shapes, claypans formed by nose-blowing, descent of figures from the sky. Many things are said of Ward’s canvases, both by him and by his immediate family.

Ward’s brother-in-law, Frank, for one, advises that the artist paints some canvases in a pinkish palette because the colour feels “strong and balanced”, while the black colour is chosen because it’s “good and healthy”. Then again, black and pink stand respectively for winter and for summer landscape, and much more. Western eyes interpret differently, and notice other things. Anita Angel, curator of the Charles Darwin University Art Collection, and a prominent collector in her own right, greatly admires Ward, while gauging his paintings largely in formal terms. “It’s instantly recognisable, he has a style, but it’s more than just a style,” she says. “He’s coming from somewhere deep within his mind’s eye. To draw out what he does. He’s not experimenting, he knows exactly what he’s doing; he has something to say about what he sees, and feels, and knows.”

Angel suspects a connection between Ward’s spare imagery and the incisions made upon the material objects of desert culture: ritual items only vaguely known to outsiders. This obscure, shielded element that so clearly lies within Ward’s work makes all the more striking his strong appeal to serious collectors of contemporary art. Melbourne Gallerist, Gabrielle Pizzi, who has included significant pieces by Ward in four recent shows, believes his work can jump the cultural divide because of his capacity to fuse the desert tradition with an individual, almost private quality. “He’s got it,” she says, “both the Pintupi grounding, and the genius to paint in ways that are innovative and exciting. He takes desert painting to another level. In the gallery people stop still in front of his works. They respond to the power, the purity and the intent.”

Featured Artist

“I want to connect with the viewer by using colour and familiar motifs that are typically associated with the Australian environment. Exaggeration of space and elements create a theatrical representation of the landscape.”

– Christopher Lees

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